Poetry Introduction

Poetry Suggestions

“My poems – I should suppose everybody’s poems- are set to trip the reader head foremost into the boundless. Ever since infancy I have had the habit of leaving my blocks, carts, chairs, and such like ordinaries where people would be pretty sure to fall forward

over them in the dark. Foreword, you understand, and in the dark” (Robert Frost – 1927 letter)

1. It’s helpful to think of poetry like a piece of popular music. The similarities between the two are great. A poem exists in time – is read (sometimes listened to), experienced, spun out – like a piece of music.

2. A poem would be dull if it gave away everything at once, with no gradually growing awareness or surprises for the reader. The full truth is meant to appear at the end, and sometimes perhaps not readily at all. Be patient as a reader. Do not expect immediate gratification. Scholar David Sohn comments on this reality effectively:

All good poetry seems to talk about one thing while really talking about something else. Thisis because the most important statements about life cannot be understood simply in a sentence.They require investigation for an understanding. A good poem, like a full life, may appear simpleon the surface, but has many undercurrents of meaning. The investigation of a poem can revealthe proper interpretation of the poet’s statement.

3. By the end (after multiple readings) things should fall in place for the reader. Remembering or half-remembering the earlier lines, the reader sees the whole thing at once – not in time – just as the listener “sees” the whole melody or song as it is complete. Like songs, poems become more recognizable and familiar as they are experienced repeatedly. The best understanding of a poem is attained through repeated reading.

4. The individual reader responds partly to what is really there in the poem, partly in terms of his own temperament, training, and needs. That is why no two responses to a poem will be the same. That is why no individual response can be the “full truth” about the poem itself or be perfectly convincing to anyone else. That is why some responses (paying better attention to what is really there and to what can be seen by others) do seem “good” or “right” or “adequate,” whereas other responses seem “weak” or “far fetched” or “just plain wrong.”

5. The “wrong” interpretation can be of great personal importance to an individual. Lives have been changed by atrociously misinterpreted performances of Hamlet, and there is nothing silly or unimportant about the effect. The “wrong” interpretation is rarely completely divorced from the facts, the things that are really there in the poem. Often, the “wrong” interpretation contains far more perceptive responses to a minor element in the poem than does the “right” interpretation. Ultimately, it fails to conceive of the poem in its entirety.

6. The “right” – i.e. better or more adequate – interpretation is simply one which describes the work accurately and explains its workings most convincingly.

7. “Right” interpretations are always the result of both analysis and comparison. What are the parts, how are they related, and why do they occur in this order and in this style? How does this thing resemble and differ from other things in its general category, including any conceivable paraphrase or translation of it into other words, and how does any given part of it differ from similar parts in similar works?

8. In summation, be patient and open-minded. Like experimenting with new music, there is nothing gained without taking the risk and making the effort to understand.

What makes poetry different from prose?

Prose PoetryWords SyllablesPhrases FeetSentences LinesParagraphs StanzasChapters Cantos

The FOOT is the basic building block of poetry. It is composed of a pattern of syllables. These patterns create the meter of a poem. METER is a pattern of beats or accents. This pattern is determined by counting the stressed and unstressed syllables in a line.

There are 5 common patterns that are used repeatedly in poetry: The iamb – unstressed/stressed (to-DAY) (be-CAUSE) The trochee – stressed/unstressed (HAP-py) (LIGHT-ly) The anapest – unstressed/unstressed/stressed (ob-vi-OUS) (reg-u-LAR) The dactyl - stressed/unstressed/unstressed (CIG-a-rette) (IN-ter-upt) The spondee – stressed/stressed (DOWN-TOWN) (SLIP- SHOD)

The LINE of poetry is measured by the number of feet it contains, rather that subject, predicate, and punctuation in a prose sentence.

1 foot – monometer 2 feet – dimeter 3 feet – trimester 4 feet – tetrameter 5 feet – pentameter 6 feet – hexameter 7 feet – heptameter 8 feet – octameter 9 feet – nonometer

i. e. Shakespeare’s plays are loosely written in unrhymed iambic pentameter. An iamb has 2 syllables and pentameter suggests 5 feet. Ergos, 5 X 2 = 10 syllables in a line of iambic pentameter.

Poetic Progression: Syllables form feet, feet form lines, and lines form STANZAS. Stanzas also have names:

1 line = a line 2 lines = couplet 3 lines = tercet 4 lines = quatrain 5 lines = cinquain 6 lines = sestet 7 lines = septet 8 lines = octave

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“Introduction to Poetry” by Billy Collins

I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive.

I say drop a mouse into a poem (5)and watch him probe his way out, or walk inside the poem's room and feel the walls for a light switch.

I want them to waterski across the surface of a poem (10)waving at the author's name on the shore.

But all they want to do is tie the poem to a chair with rope and torture a confession out of it.

They begin beating it with a hose (15)to find out what it really means.

What is ironic (even paradoxical) about the message of this poem?

Billy Collins was born in New York City in 1941. About Collins, the poet Stephen Dunn has said, "We seem to always know where we are in a Billy Collins poem, but not necessarily where he is going. I love to arrive with him at his arrivals. He doesn't hide things from us, as I think lesser poets do. He allows us to overhear, clearly, what he himself has discovered."

In 2001, Collins was named U.S. Poet Laureate. His other honors and awards include fellowships from the New York Foundation for the Arts, the National Endowment for the Arts, and the Guggenheim Foundation. In 1992, he was chosen by the New York Public Library to serve as "Literary Lion".

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Billy Collins Interview (segment)

ELIZABETH FARNSWORTH: I want to talk about this issue of accessibility. I notice that the word "accessible" is used a lot in reviews and discussions of your poetry meaning, I guess, easy to understand. It is a word you like? Do you try to be accessible?

BILLY COLLINS: Well, I've gotten tired of it actually. It's a little overused, not just in application to my work, but a lot of other poets I think. I think accessible just means that the reader can walk into the poem without difficulty. The poem is not, as someone put it, deflective of entry. But the real question is what happens to the reader once he or she gets inside the poem? That's the real question for me, is getting the reader into the poem and then taking the reader somewhere because I think of poetry as a kind of form of travel writing….the poem is called "Introduction to Poetry." It's about the teaching of poetry to students. "Introduction to Poetry." "I asked them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out or walk inside the poem's room and feel the walls for a light switch. I want them to water ski across the surface of a poem waving at the author's name on the shore but all they want to do is tie the poem to a chair with rope and torture a confession out of it. They begin beating it with a hose to find out what it really means."….. Often people, when they're confronted with a poem, it's like someone who keep saying "what is the meaning of this? What is the meaning of this?" And that dulls us to the other pleasures poetry offers. …I think I'm making up for previous sins, because when I was in graduate school, I was taught that difficulty was part of the value of poetry, and I committed the sin of difficulty over and over again in my earlier writing. It took quite a while for me just to try to speak more clearly. I'm very aware of the presence of a reader, and that probably is a reaction against a lot of poems that I do read which seem oblivious to my presence as a reader.

ELIZABETH FARNSWORTH: Do you think that American poetry has gotten too difficult?

BILLY COLLINS: Well, I think it's getting... I think it reached a high-water mark of difficulty probably in the '50s and '60s, but I think there's a lot of very good, plainspoken poetry today. There are interesting forms of difficulty, and there are unprofitable forms of difficulty. I mean, I enjoy some difficult poetry, but some of it is impenetrable and I actually wouldn't want to penetrate it if I could perhaps.

ELIZABETH FARNSWORTH: (Laughs) You use humor a lot. You really like humor in your poetry, don't you?

BILLY COLLINS: Well, humor for me is really a gate of departure. It's a way of enticing a reader into a poem so that less funny things can take place later. It really is not an end in itself, but a means to an end.

ELIZABETH FARNSWORTH: When you sit down and scrutinize that moment, do you try to write the poem in one sitting? How do you do it?

BILLY COLLINS: Yes, I write pretty rapidly. I mean maybe my critics would say, "well, that's obvious." But I try to do it in one sitting only because I want the poem to... I have a feeling of momentum when I'm writing, and I want the moment to get to its ending because that's, for me, is the destination. I mean, the poem for me is like a ride and I'm the first one to take the ride. I want... And so I'm the first one to arrive. The conclusion for the reader is really the destination for me. And I couldn't just write eight lines of a poem and then come back to it a few days later. I have to complete this ride and discover the destination of the poem. ... Mostly it's getting the rhythm right and getting the cadence or just finding a better... It's polishing and working, as someone said, with tinier and tinier screwdrivers on it. But the initial rush is pretty much done fairly quickly, like a sketch.

ELIZABETH FARNSWORTH: And how will being Poet Laureate change what you do? Do you have big plans for your term of office?

BILLY COLLINS: Well, it's helping my self esteem to a great degree. But more than personally, well, I have one initiative called poetry 180, which is the idea is to get a poem read every day in American high schools as part of the public announcements. I am hand picking 180 poems, which I think are, well, accessible, for lack of a better word or hospitable. And I hope that they will... High schools will pick up on this. We're going to list the poems on the Library of Congress Web site at the beginning of the year next year. The idea would be to have high school students hear a poem every day, so that the poem will be a feature of daily life and not something that's just taught. I'm going to discourage teachers from teaching the poem or bringing it into the classroom. So right now, we're kind of constructing this jukebox of poems, and once it's up, we'll plug it in and it will run.

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“Sea of Faith” by John Brehm

Once when I was teaching "Dover Beach" *see next page for “Dover Beach”to a class of freshmen, a young womanraised her hand and said, "I'm confusedabout this 'Sea of Faith.'" "Well," I said,"let's talk about it. We probably need (5)to talk a bit about figurative language.What confuses you about it?""I mean, is it a real sea?" she asked."You mean, is it a real body of waterthat you could point to on a map (10)or visit on a vacation?""Yes," she said. "Is it a real sea?"Oh Christ, I thought, is this where we are?Next year I'll be teaching them the alphabetand how to sound words out. (15)I'll have to teach them geography, apparently,before we can move on to poetry.I'll have to teach them history, too-a few weeks on the Dark Ages might be instructive."Yes," I wanted to say, "it is. (20)It is a real sea. In fact it flowsright into the Sea of IgnoranceIN WHICH YOU ARE DROWNINGLet me throw you a Rope of Salvationbefore the Sharks of Desire gobble you up. (25)Let me hoist you back up onto this Ship of Foolsso that we might continue our searchfor the Fountain of Youth. Here, take a drinkof this. It's fresh from the River of Forgetfulness."But of course I didn't say any of that. (30)I tried to explain in such a wayas to protect her from humiliation,tried to explain that poetsoften speak of things that don't exist.It was only much later that I wished (35)I could have answered differently,only after I'd betrayed myselfand been betrayed that I wishedit was true, wished there really was a Sea of Faiththat you could wade out into, (40)dive under its blue and magic waters,hold your breath, swim like a fishdown to the bottom, and then emerge againable to believe in everything, faithfuland unafraid to ask even the simplest of questions, (45)happy to have them simply answered.

Despite situational similarities to Billy Collins’ poem, how is the tone of this poem ultimately very different than that of “Introduction to Poetry”?

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“Dover Beach” by Matthew Arnold

The sea is calm to-night.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand;Glimmering and vast, out in the tranquil bay. (5)Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling, (10)At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in.

Sophocles long ago (15)Heard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. (20)

The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar, (25)Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world.

Ah, love, let us be trueTo one another! for the world, which seems (30)To lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plain (35)Swept with confused alarms of struggle and flight,Where ignorant armies clash by night.

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“I Said to Poetry” by Alice Walker

I said to Poetry: "I'm finishedwith you."Having to almost diebefore some weird lightcomes creeping through (5)is no fun."No thank you, Creation,no muse need apply.I’m out for good times--at the very least, (10)some painless convention."

Poetry laid backand played deaduntil this morning.I wasn't sad or anything, (15)

Poetry said: "You rememberthe desert, and how glad you werethat you have an eyeto see it with? You remember (20)that, if ever so slightly?"I said: "I didn't hear that.Besides, it's five o'clock in the a.m.I'm not getting upin the dark (25)to talk to you."

Poetry said: "But think about the timeyou saw the moonover that small canyonthat you liked so much better (30)than the grand one--and how surprised you werethat the moonlight was greenand you still hadone good eyeto see it with. (35)

Think of that!"

"I'll join the church!" I said,huffily, turning my face to the wall."I'll learn how to pray again!"

"Let me ask you," said Poetry. (40)"When you pray, what do you thinkyou'll see?"

Poetry had me.

"There's no paperin this room," I said. (45)"And that new pen I boughtmakes a funny noise."

"Bullshit," said Poetry."Bullshit," said I.

This poem centers on a figurative conversation. What is it the poet is struggling with and how (specifically) is the poet defeated in argument?

Alice Walker

Poet, essayist, and novelist Alice Walker was born in 1944 in Eatonton, Georgia. She was the eighth child of Willie Lee and Minnie Lou Grant Walker, who were both sharecroppers. She has published both poetry and prose. Her most noted narrative is The Color Purple (1982).

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“Poeta Fit, Non Nascitur” by Lewis Carroll (1832-1898)

              1 "How shall I be a poet?              2 How shall I write in rhyme?              3 You told me once `the very wish              4 Partook of the sublime.'              5 Then tell me how! Don't put me off              6 With your `another time'!"

              7 The old man smiled to see him,              8 To hear his sudden sally;              9 He liked the lad to speak his mind            10 Enthusiastically;            11 And thought "There's no hum-drum in him,            12 Nor any shilly-shally."

            13 "And would you be a poet            14 Before you've been to school?            15 Ah, well! I hardly thought you            16 So absolute a fool.            17 First learn to be spasmodic --            18 A very simple rule.

            19 "For first you write a sentence,            20 And then you chop it small;            21 Then mix the bits, and sort them out            22 Just as they chance to fall:            23 The order of the phrases makes            24 No difference at all.

            25 "Then, if you'd be impressive,            26 Remember what I say,            27 That abstract qualities begin            28 With capitals alway:            29 The True, the Good, the Beautiful --            30 Those are the things that pay!

            31 "Next, when we are describing            32 A shape, or sound, or tint;            33 Don't state the matter plainly,            34 But put it in a hint;            35 And learn to look at all things            36 With a sort of mental squint."

            37 "For instance, if I wished, Sir,            38 Of mutton-pies to tell,            39 Should I say `dreams of fleecy flocks            40 Pent in a wheaten cell'?"            41 "Why, yes," the old man said: "that phrase            42 Would answer very well.

            43 "Then fourthly, there are epithets            44 That suit with any word --

            45 As well as Harvey's Reading Sauce            46 With fish, or flesh, or bird --            47 Of these, `wild,' `lonely,' `weary,' `strange,'            48 Are much to be preferred."

            49 "And will it do, O will it do            50 To take them in a lump --            51 As `the wild man went his weary way            52 To a strange and lonely pump'?"            53 "Nay, nay! You must not hastily            54 To such conclusions jump.

            55 "Such epithets, like pepper,            56 Give zest to what you write;            57 And, if you strew them sparely,            58 They whet the appetite:            59 But if you lay them on too thick,            60 You spoil the matter quite!

            61 "Last, as to the arrangement:            62 Your reader, you should show him,            63 Must take what information he            64 Can get, and look for no im            65 mature disclosure of the drift            66 And purpose of your poem.

            67 "Therefore to test his patience --            68 How much he can endure --            69 Mention no places, names, or dates,            70 And evermore be sure            71 Throughout the poem to be found            72 Consistently obscure.

            73 "First fix upon the limit            74 To which it shall extend:            75 Then fill it up with `Padding'            76 (Beg some of any friend)            77 Your great SENSATION-STANZA            78 You place towards the end."

            79 "And what is a Sensation,            80 Grandfather, tell me, pray?            81 I think I never heard the word            82 So used before to-day:            83 Be kind enough to mention one            84 `Exempli gratiâ'"

            85 And the old man, looking sadly            86 Across the garden-lawn,            87 Where here and there a dew-drop            88 Yet glittered in the dawn,            89 Said "Go to the Adelphi,            90 And see the `Colleen Bawn.'

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            91 "The word is due to Boucicault --            92 The theory is his,            93 Where Life becomes a Spasm,            94 And History a Whiz:            95 If that is not Sensation,            96 I don't know what it is,

            97 "Now try your hand, ere Fancy            98 Have lost its present glow --"            99 "And then," his grandson added,          100 "We'll publish it, you know:          101 Green cloth -- gold-lettered at the back --          102 In duodecimo!"

          103 Then proudly smiled that old man          104 To see the eager lad          105 Rush madly for his pen and ink          106 And for his blotting-pad --          107 But, when he thought of publishing,          108 His face grew stern and sad.

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How does the poem’s title factor into the intended message of the poem? How does that message hinge on the ironic final line of the poem?

Notes

1] The title means "A poet is made, not born" (Latin).

17] spasmodic: tending towards emotional fits.

84] "An example, if you please" (Latin).

89-90] The Adelphi is a London theatre; and The Coleen Bawn; or the Brides of Garryowen (1860) is a play by Boucicault, i.e., Dionysius Lardner (1822-90).

102] duodecimo: twelvemo, that is, a book made up of twelve-page gatherings cut from single sheets.

Lewis Carroll

Renowned Victorian author Lewis Carroll was born Charles Lutwidge Dodgson on January 27, 1832, in Daresbury, Cheshire, England. The son of a clergyman, Carroll was the third child born to a family of eleven children. Many of Lewis Carroll's philosophies were based on games. His interest in logic came purely from the playful nature of its principle rather than its uses as a tool. He primarily wrote comic fantasies and humorous verse that was often very childlike. Carroll published his novel Alice's Adventures in Wonderland in 1865, followed by Through the Looking Glass in 1872. Alice's story began as a piece of extemporaneous whimsy meant to entertain three little girls on a boating trip in 1862. Both of these works were considered children's novels that were satirical in nature and in exemplification of Carroll's wit. Also famous is Carroll's poem "Jabberwocky," in which he created nonsensical words from word combinations. Lewis Carroll died in Guildford, Surrey, on January 14, 1898.

“The Poet” by Tom Wayman (1989)

Loses his position on worksheet or page in textbookMay speak much but makes little senseCannot give clear verbal instructionsDoes not understand what he readsDoes not understand what he hears (5)Cannot handle “yes-no” questions

Has great difficulty interpreting proverbsHas difficulty recalling what he ate for breakfast, etc.Cannot tell a story from a pictureCannot recognize visual absurdities (10)

Has difficulty classifying and categorizing objectsHas difficulty retaining such things asaddition and subtraction facts, or multiplication tablesMay recognize a word one day and not the next.

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How would you characterize the syntax of this poem? How does hyperbole contribute to the intended meaning of the poem?

“The Selfishness of the Poetry Reader” by Dick Allen

Sometimes I think I’m the only man in Americawho reads poemsand who walks at night in the suburbs,calling the moon names. (4)

And I’m certain I’m the single man who ownsa house with bookshelves,who drives to work without a CD player,taking the long way, by the ocean breakers. (8)

No one else, in all America,quotes William Meredith verbatim,cites Lowell over ham and eggs, and Levertov;keeps Antiworlds and Ariel beside his bed. (12)

Sometimes I think no other man aliveis changed by poetry, has foughtas utterly as I have over “Sunday Morning”and vowed to love those difficult as Pound. (16)

No one else has seen a luna mothflutter over Iowa, or watcheda woman’s hand lift rainbow trout from water,and snow fall onto Minnesota farms. (20)

This country wide, I’m the only manwho spends his money recklessly on thinvolumes unreviewed, enjoysthe long appraising look of check-out girls. (24)

How could another in America know whythe laundry from a window laughs,and how plums taste, and what an auto wreckfeels like--and craft? (28)

I think that I’m the only man who speaksof fur and limestone in one clotted breath;for whom Anne Sexton plunged in Grimm; who can’tstop quoting haikus at some weekend guest. (32)

The only man, in all America, who feedson something darker than his politics,

who writes in margins and who earmarks pages--in all America, I am the only man. (36)

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This poem is highly prone to multiple readings. What are some of the possible ways to interpret the speaker’s tone?

“Constantly Risking Absurdity” by Lawrence Ferlinghetti

Constantly risking absurdityand deathwhenever he performsabove the headsof his audience (5)the poet like an acrobatclimbs on rimeto a high wire of his own makingand balancing on eyebeamsabove a sea of faces (10)paces his wayto the other side of the dayperforming entrachatsand sleight-of-foot tricksand other high theatrics (15)and all without mistakingany thingfor what it may not beFor he's the super realistwho must perforce perceive (20)taut truthbefore the taking of each stance or stepin his supposed advancetoward that still higher perchwhere Beauty stands and waits (25)with gravityto start her death-defying leapAnd hea little charleychaplin manwho may or may not catch (30)her fair eternal formspreadeagled in the empty airof existence

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Within the witty frivolity of this conceit is a specific prescription for what a poet must accomplish. What are the obligations that must be met?

Lawrence Ferlinghetti

Lawrence Ferlinghetti was born in Yonkers, New York, in 1919. After spending his early childhood in France, he received his B.A. from the University of North Carolina, an M.A. from Columbia University, and a Ph.D. from the Sorbonne. During World War II he served in the US Naval Reserve and was sent to Nagasaki shortly after it was bombed. He married in 1951 and has one daughter and one son.

In 1953, Ferlinghetti and Peter Martin began to publish City Lights magazine. They also opened the City Lights Books Shop in San Francisco to help support the magazine. In 1955, they launched City Light Publishing, a book-publishing venture. City Lights became known as the heart of the "Beat" movement, which included writers such as Kenneth Rexroth, Gary Snyder, Allen Ginsberg, and Jack Kerouac. He also continues to operate the City Lights bookstore, and he travels frequently to participate in literary conferences and poetry readings.

Marianne MooreBorn near St. Louis, Missouri, on November 15, 1887, Marianne Moore was raised in the home of her grandfather, a Presbyterian pastor. After her grandfather's death, in 1894, Moore and her family stayed with other relatives, and in 1896 they moved to Carlisle, Pennsylvania. She attended Bryn Mawr College and received her B.A. in 1909. Moore was widely recognized for her work; among her many honors were the Bollingen prize, the National Book Award, and the Pulitzer Prize. She wrote with the freedom characteristic of the other modernist poets, often incorporating quotes from other sources into the text, yet her use of language was always extraordinarily condensed and precise, capable of suggesting a variety of ideas and associations within a single, compact image. In his 1925 essay "Marianne Moore," William Carlos Williams wrote about Moore's signature mode, the vastness of the particular: "So that in looking at some apparently small object, one feels the swirl of great events." She was particularly fond of animals, and much of her imagery is drawn from the natural world. Marianne Moore died in New York City in 1972.

“Poetry” by Marianne Moore

I, too, dislike it: there are things that are important beyond

all this fiddle.

Reading it, however, with a perfect contempt for it, one

discovers in

it after all, a place for the genuine. (5)

Hands that can grasp, eyes

that can dilate, hair that can rise

photo © Massimo Sestini, Roma, 1995

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if it must, these things are important not because a

high-sounding interpretation can be put upon them but because

they are (10)

useful. When they become so derivative as to become

unintelligible,

the same thing may be said for all of us, that we

do not admire what

we cannot understand: the bat (15)

holding on upside down or in quest of something to

eat, elephants pushing, a wild horse taking a roll, a tireless

wolf under

a tree, the immovable critic twitching his skin like a horse

that feels a flea, the base- (20)

ball fan, the statistician--

nor is it valid

to discriminate against "business documents and

school-books"; all these phenomena are important. One must make

a distinction (25)

however: when dragged into prominence by half poets, the

result is not poetry,

nor till the poets among us can be

"literalists of

the imagination"—above (30)

insolence and triviality and can present

for inspection, "imaginary gardens with real toads in them,"

shall we have

it. In the meantime, if you demand on the one hand,

the raw material of poetry in (35)

all its rawness and

that which is on the other hand

genuine, you are interested in poetry.

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“Black Art” Amiri Baraka

Poems are bullshit unless they areteeth or trees or lemons piledon a step. Or black ladies dying of men leaving nickel hearts beating them down. Fuck poems (5)and they are useful, wd they shootcome at you, love what you are, breathe like wrestlers, or shudder strangely after pissing. We want live words of the hip world live flesh & (10)coursing blood. Hearts Brains Souls splintering fire. We want poems like fists beating niggers out of Jocks or dagger poems in the slimy bellies of the owner-jews. Black poems to (15)smear on girdlemamma mulatto bitches whose brains are red jelly stuck between 'lizabeth taylor's toes. Stinking Whores! We want "poems that kill." Assassin poems, Poems that shoot (20)guns. Poems that wrestle cops into alleys and take their weapons leaving them dead with tongues pulled out and sent to Ireland. Knockoff poems for dope selling wops or slick halfwhite politicians Airplane poems, rrrrrrrrrrrrrrrr (25)rrrrrrrrrrrrrrr. . . tuhtuhtuhtuhtuhtuhtuhtuhtuh . . . rrrrrrrrrrrrrrr . . . Setting fire and death to whities ass. Look at the Liberal Spokesman for the jews clutch his throat& puke himself into eternity . . . rrrrrrrr (30)There's a negroleader pinned to a bar stool in Sardi's eyeballs meltingin hot flame Another negroleader on the steps of the white house one kneeling between the sheriff's thighs (35)negotiating coolly for his people. Agggh . . . stumbles across the room . . .Put it on him, poem. Strip him naked to the world! Another bad poem crackingsteel knuckles in a jewlady's mouth (40)Poem scream poison gas on beasts in green berets Clean out the world for virtue and love, Let there be no love poems written until love can exist freely and cleanly. Let Black People understand (45)that they are the lovers and the sons of lovers and warriors and sons of warriors Are poems & poets & all the loveliness here in the world

We want a black poem. And a (50)Black World.Let the world be a Black PoemAnd Let All Black People Speak This Poem

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Silentlyor LOUD

“Ars Poetica” (the art of poetry) by Archibald MacLeish

A poem should be palpable and muteAs a globed fruit,

DumbAs old medallions to the thumb,

Silent as the sleeve-worn stoneOf casement ledges where the moss has grown--

A poem should be wordlessAs the flight of birds. (8)

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A poem should be motionless in time As the moon climbs,

Leaving, as the moon releasesTwig by twig the night-entangled trees,

Leaving, as the moon behind the winter leaves, Memory by memory the mind--

A poem should be motionless in time As the moon climbs. (16)

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A poem should be equal to:Not true.

For all the history of griefAn empty doorway and a maple leaf.

For loveThe leaning grasses and two lights above the sea--

A poem should not meanBut be. (20)

Does this poem sabotage its own message?Archibald MacLeish

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Archibald MacLeish was born in Glencoe, Illinois, on May 7, 1892. First educated at Hotchkiss School, MacLeish later studied at Yale and Harvard Law School, where he was first in his class. Although he focused his studies on law, he also began writing poetry during this time. In 1916 he married Ada Hitchcock.

At the onset of World War I, MacLeish volunteered as an ambulance driver, and later became a captain of field artillery. Upon returning home, he worked in Boston as a lawyer but found that the position distracted him from his poetry. He resigned in 1923, on the day that he was promoted to partner in the firm. MacLeish then moved his family to France and began to focus on writing. There he was to befriend fellow writers such as Kay Boyle, Ernest Hemingway, and Ezra Pound. During the next four years he published four books of poetry, including The Happy Marriage (1924) and The Pot of Earth (1925). In 1928 MacLeish returned to America, where he began research for his epic poem Conquistador by travelling the steps and mule-ride of Cortez's army through Mexico. MacLeish won the Pulitzer Prize for his efforts in 1932. Archibald MacLeish died in April 1982 in Boston, Massachusetts.

On "Ars Poetica" (DO NOT READ PRIOR TO CLASS EVALUATION OF POEM!!!)

Signi Lenea Falk: "Ars Poetica" has been called MacLeish's ultimate expression of the art-for-art's-sake tenet. Taken as one statement of his theory, the poem does defy the "hair splitting analysis of modern criticism." Written in three units of double-line stanzas and in rhyme, it makes the point that a poem is an intimation rather than a full statement, that it should "be motionless in time"; that it has no relation to generalities of truth, historical fact, or love-variations, perhaps, of truth, beauty, and goodness.

Victor H. Jones: The poem, as "Ars Poetica" makes clear, captures a human experience, an experience of grief, or of love, or of loneliness, or of memory. Thus a poem becomes a way of knowing, of seeing, albeit through the senses, the emotions, and the imagination. MacLeish often said that the function of a poem is to trap "Heaven and Earth in the cage of form."

William Pratt: Archibald MacLeish, who like Cummings arrived on the poetic scene after the first imagists had created the new movement, nevertheless can be credited with the poetic summing up of imagism in his "Ars Poetica" in 1926, written well after the imagist decade had ended. It is inconceivable that such a poem could have been written without imagism, because the technique as well as the philosophy of MacLeish's most famous poem is imagist. It consists of a sequence of images that are discrete but that at the same time express and exemplify the imagist principles and practice of poetry. The Latin title is borrowed from Horace, who wrote a prose treatise in the first century A.D., the Silver Age of Rome, called "Art of Poetry," advising poets among other things to be brief and to make their poems lasting. MacLeish wanted to link the classical with the modern in his poetic "treatise" as a way of implying that the standards of good poetry are timeless, that they do not change in essence though actual poems change from age to age and language to language. His succession of opening images are all about the enduring of poetry through time, as concrete as "globed fruit" or ancient coins or stone ledges, and as inspiring to see as a flight of birds or the moon rising in the sky. The statements are not only concrete but paradoxical, for it is impossible that poems should be "mute" or "Dumb" or "Silent" or "wordless," which would mean that there was no communication in them at all; rather, what MacLeish is stating in his succession of paradoxical images is that the substance of poetry may be physical but the meaning of poetry is metaphysical: poems are not about the world of sensible objects as much as they are about invisible realities, and so the universal emotions of grief and love can be expressed in words that convey the experience in all its concreteness, yet the words reach into the visionary realm beyond experience, toward which all true images point. The final paradox, that "A poem should not mean but be," is pure impossibility, but the poet insists it is nevertheless valid, because beyond the meaning of any poem is the being that it points to, which is ageless and permanent, a divine essence or spiritual reality behind all appearances. MacLeish's modern "Art of Poetry" is a fulfillment of the three rules of imagism (be direct, be brief, and use free verse), of Pound's definition of the image, and at the same time of Horace's Latin statement on poetry, that good poetry is one proof that there is a permanence in human experience that does not change but endures through time.

John Haislip: And so at the beginning of the twentieth century, English poetry was dominated by a highly rhetorical, very popular poetry exemplified by such writers as Sir Henry Newbolt, William Watson, and Alfred Noyes. The subsequent revolt against their poetry and especially the implications of its popularity led directly to a search for an antidote to the horrors of the popular poem. The antidote was the image and imagist poetry. In terms of Stead's metaphor, the imagist poet sought to distance himself from the audience and shorten the line between himself and reality with the goal of creating pure poetry. MacLeish' s attempt at an "imagist" poem, "Ars Poetica," was written March 14, 1925, at the beginning of his serious commitment to poetry. "Ars Poetica" has been a part of our "literary lives" for so long that it has blurred in our memory, vaguely associated with other "imagist" poems and modernist manifestos. Yet in spite of the fact that we have encountered it innumerable times in innumerable anthologies, essays, textbooks, that telling last couplet remains fresh and enigmatic: "A poem should not mean / But be." But what can one say about its particulars? And what is its significance? "Ars Poetica," John Cage suggests, is the best piece of propaganda the imagist movement ever had. It is not an imagist poem, he says, because, first, it is almost impossible to write one, and second, it is too didactic; there is too strong a message. To this insightful remark I would add another: Scott Donaldson writes in his biography of MacLeish that "in severely compressed form," "Ars Poetica" conveys "some of the modernist aesthetic" (150). This remark comes about after Donaldson has pointed to a gloss on the poem that MacLeish wrote to Norman Holes Pearson in 1937, in which MacLeish used his notebooks to refresh his memory on his thinking at the time of the writing of the poem. Donaldson writes:

There he [MacLeish] found Fenellosa's observation that "metaphor was the very essence of poetry," but not as exegesis or demonstration. Metaphor itself was "experience." In his notebooks, too, was his reworking of Eliot's doctrine of the "objective correlative," a concrete representation that would convey emotion without involving the abstract slither of the merely personal. It would not do to gush on the page. The object of a poem was "not to recreate" the poet's emotion in someone else. . . . The poem itself is finality, an end, a creation." (150) Outlined

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here are four important aspects of the modernist aesthetic. Donaldson' s astute statement of the importance of metaphor identifies this trope not as exegesis or demonstration, but experience itself. Second, he isolates the concrete as a representation of the emotion, that is, the objective correlative. Third, he insists upon the avoidance of the merely personal, the escape into the impersonal. And fourth, he understands the poem as a creation that is an end to itself. Perhaps what was buried in "Ars Poetica" in 1925, but uncovered by MacLeish himself in the letter of 1937 is what has drawn us to the poem all these years: metaphor, concretion, non-intervention, the concept of impersonality, and autotelism. In a discussion of Williams's theory of "no ideas but in things" and MacLeish's "Ars Poetica," Howard Nemerov observed that one of the hardest things about studying Modern Poetry is that you can write a far more coherent and plausible account from what the poets said they were doing than from their poems. This difficulty is compounded when the poems keep talking about themselves and their intentions for poetry as a whole. (154-55) "Ars Poetica" does not do what it says should be done in the composition of a poem—largely because it is impossible to write a poem that is and only is an object to behold as a static object without meaning, without message. This is the central paradox of "Ars Poetica."

MacLeish’s “Ars Poetica” concludes with an assertive, yet intriguing, statement:A poem should not meanBut be.Taken literally, this aphoristic statement is not only in flat contradiction with the rest of the poem, but it also denies the possibility of formulating any significant definition of the art of poetry. How, for example, can the existence of a poem be justified without a sort of meaning? And more importantly, what is the use of writing a poem so crammed with meanings, like “Ars Poetica,” only to preach the meaninglessness of poetry?This kind of literal interpretation is obviously on the wrong track, as it brings about more questions than answers. However, another text by MacLeish himself may provide a clue to a deeper understanding of his “Ars Poetica”. Discussing the means to, and the nature of, meaning in poetry, MacLeish argues that …whatever it is we know in [a] poem, we know only in the poem. It is not a knowledge we can extract from the poem like a meat from a nut and carry off. It is something the poem means – something that is gone when the poem goes and recovered only by returning to the poem’s words. And not only by returning to the poem’s words but by returning to them within the poem. If we alter them, if we change their order, though leaving their sense much as it is, if we speak them so that their movement changes, their meaning changes also.”

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